Temple Tuesday: Orchids to You

The 1935 Fox Film “Orchids to You” isn’t funny enough to be considered a comedy nor is it dramatic enough to be a tearjerker. The plot just hovers at mediocre. The story in a nutshell: a flower seller (Jean Muir) falls for a married attorney (John Boles) whose wife is having an affair. The acting is fairly decent, especially the performances of Muir and Charles Butterworth in the comic role of a wealthy admirer of Muir’s character. What does this film have to do with Shirley Temple, you ask? Plenty. To begin with, it was made at Shirley’s home studio, Fox (which was yet to be merged into 20th Century-Fox), with a short production date of April 27 — May 25, 1935 and released on July 12. In “Orchids to You,” there is a sequence set at a Flower Show, with a jazzy version of Tchaikovsky’s “Waltz of the Flowers” playing in the background.



The exhibit with Muir’s character is centered around a charming little storybook cottage, seen below.



The first place prize that Muir receives is displayed at her flower shop the next day next to a miniature version of the cottage. No explanation is given as to where the miniature came from, and it is only seen onscreen for less than a minute.



“Curly Top” features a seaside cottage where Shirley spends the summer with her wealthy benefactor, played by John Boles, who barely had time to breathe between films! Production began on May 25 (the same day “Orchids” ended), wrapping up on July 10, 1935. “Curly Top” was released two weeks after “Orchids.” 



Daily Variety reported that the eight-room cottage from “Curly Top,” built on a Fox sound stage (seen in the screenshot below), interested director Irving Cummings enough to offer the studio $25,000 for it. Instead, according to DV, Fox moved it to the lot to be used as a play room, dressing room, and school room for Shirley.



Below is a shot of Shirley’s Fox bungalow. Author and Hollywood historian Michael Troyan (20th Century Fox: A Century of Entertainment) disputed the Variety claim on social media, where he says it was built in 1930. Lilian Harvey used it in 1933 for the four Fox Films that she made, followed by Gloria Swanson. In her autobiography,  Swanson on Swanson, the actress wrote about the operetta she was making, “Music in the Air,” and that she took over:

…a sumptuous star bungalow on the Fox lot for the duration of the picture.…they commissioned René Hubert to design fabulous clothes for me.…We all felt fairly certain of success during the shooting, but the picture flopped. Hollywood producers learned once again that the taste of New York and Broadway was no barometer for the taste of the nation at large. The nation at large ignored “Music in the Air” and rushed instead to see “Stand Up and Cheer,” a musical starring a six-year-old, Shirley Temple.

The film was in production from July 24 —September 15, 1934. John Boles also starred in this film; a truly busy performer!



At best, furnishings from the “Curly Top” set were used inside Shirley’s bungalow, but not the structure itself. The bungalow when Harvey inhabited it:



Lloyd Pantages reported this in July 1934:

Lilian Harvey’s bungalow, which was once decorated in twenty-five cents a-piece ermine tails, is now yawning for an occupant, so why not re-do it in animal crackers and alphabet soup for little Shirley Temple?

How it looked when Shirley lived there:



There’s a semi-decent chance that the look of the bungalow inspired the design of the storybook cottage and the model, not vice versa. Below is Harvey at the entrance gate to her Fox bungalow:



Lilian Harvey was a famous British-German actress who made four films for Fox in 1933, returning to Germany two years later. More images of Harvey inside the Fox bungalow when it was hers:



The following publicity caption accompanied the photo below:

In the living room of Lilian Harvey’s bungalow dressing-room at Fox Movietone City. The rug is a deep peach shade. The wallpaper is white and the figure is in peach shade. The couch upon which Miss Harvey is sitting is an off-shade of white corduroy, trimmed with peach colored brush cording. The pillows are of coca brown chiffon velvet with frayed taffeta ruffles in flesh color. The drapes in this room are of peach satin. The mirror above the couch is framed in antique gold. Designed by Richard Lewis Smith, Fox Film interior decorator.



A November 1933 blurb about Harvey and the bungalow:



The model from “Orchids to You” ended up in Shirley’s possession. Perhaps John Boles played a part in the gift; or maybe costume designer René Hubert (he worked on both films, too). Arthur Treacher played a butler in both, but I doubt he would have been associated with the gift. My money would go on Jack Otterson, who was the art director for both films and would have had a closer association to the physical model itself. There is even a possibility that the model was created with the idea of giving it to Shirley, rather than it being an after-thought, which is why it was designed to resemble her bungalow. Publicity shots were released of the model/dollhouse once it was given to Shirley and placed inside her bungalow. The following caption accompanied these shots:



Shirley Temple’s prize possession - a doll house and garden that takes up most of one room in the Fox Film star’s bungalow at the studio, and where she spends most of her time between scenes.



The building and grounds were turned over to the youthful star after they had been used in a scene for “Orchids To You,” and Shirley promptly set about peopling the model house with dolls of appropriate size.



The detailing is incredible!





In September 1937, actress Helen Hayes and daughter Mary MacArthur paid a visit to Shirley in her bungalow:



Shirley described the visit in her autobiography Child Star:

A standard stop on tours for children my age was a souvenir doll’s house from “Curly Top,” now installed in our cottage bedroom. Piece by piece I demonstrated all its miniature equipment to Mary—the diminutive hooked rugs which lay on the parquet floors, the sheets covering each bed, and the bathroom commode with a lid that worked. Each door swung, every drawer slid open. Chintz curtains were tied back at each window, bric-a-brac cluttered the tiny tabletops, books lined the shelves, and fake food was in the refrigerator. We examined everything, preoccupied with the housekeeping details, as little girls would. Ghosts of vamp Lillian Harvey and sultry Gloria Swanson must have shuddered to witness what now transpired in their historic “Maison des Rêves” bedroom.



When Shirley left Fox, the dollhouse followed her and was on display in her home with the rest of her doll collection, as seen in this 1944 image:



After Shirley passed, the dollhouse was sold in the “Love, Shirley Temple” 2015 auction.



Shirley Temple's Wooden Bungalow Dollhouse with Tynietoy Furnishings Description 43" l. x 26" d. x 26" h. A wooden bungalow style home with clapboard siding and shingles, decorative cupola, blue shutters with fleur-de-lis design, multi-pane windows, and wide front door, has two interior rooms that are furnished with signed pieces of Tynietoy furnishings (fold-downable, faux marble top table, dining table, chest of drawers, buffet, red wing chair, six various chairs, and sofa), and with various carpets and curtains.



Also included are original picket fence sections on bases for arrangement as desired, a vintage photograph of the dollhouse, and a pencil sketch labeled "Shirley's Doll House". The dollhouse originally was made for the 1935 Fox film "Orchids to You" starring John Boles; in that film the doll-house appeared in a display that won first prize at the Annual Spring Flower Show. After the film was completed, the dollhouse was gifted to Shirley Temple who treasured it, placing the house in the center of her doll room.







Spring Byington has a bit part as the wronged wife in “Orchids”:



In 1940, she would play Shirley’s mother in “The Blue Bird”:



A final connection between Shirley and “Orchids” is this Spanish ad for both “Curly Top” and “Orchids to You.” While the photo on the left is definitely John Boles, Shirley, and Rochelle Hudson, the photo on display for “Orchids” is definitely not Boles and Muir!



Who moved into Shirley’s bungalow when she left Fox? It appears that it could be none other than John Barrymore! Shirley’s contract was closed on May 9, 1940 and she moved out of the bungalow on May 27th. Barrymore was said to have inhabited the bungalow at some point, and it seems that his one 20th Century-Fox film during the appropriate period was “The Great Profile,” which had a production schedule of late May through July 1940. According to the AFI website, Barrymore did not memorize any of his lines for the film, but instead read them from a blackboard. George French is listed as his blackboard toter. Because Barrymore never missed a cue or muffled a speech, the use of blackboards was credited with bringing the picture five days under schedule and saving the studio an estimated $25,000. What a difference from Shirley, who rarely flubbed a line!



Another trip down the rabbit hole has ended.

See more photos at my main website.

Mineo Monday

Actor Sal Mineo is typically remembered for his role of Plato, the young boy seeking a father-figure who latches onto James Dean’s character in “Rebel Without a Cause” (1955).



Along with Natalie Wood’s character, the three form a somewhat dysfunctional family, with Mineo and Wood competing for the affections of Dean. They bond one night at an abandoned mansion, as they secretly hope to all find what they have been missing throughout their already troubled lives.



Sharp-eyed viewers will recognize the mansion as the same one that Norma Desmond (Gloria Swanson) lived at in “Sunset Boulevard” (1950) with her ex, Max (Erich von Stroheim). The Getty mansion has long since been dozed.



But I digress…

While the censors of the 1950s would not allow any hint of Mineo’s character being gay, the actor’s performance made it very clear. In real life, Sal Mineo, he was quoted as saying, “I got a girl in every port — and a couple of guys in every port, too.” His life was tragically cut short in 1976 at the age of 37 during what was most likely a botched robbery. When it comes to celebrity deaths, no site is better than Scott Michael’s. During my last visit to Hollywood, I decided it was time to visit the spot where the murder took place. I texted Michael’s to narrow down the actual spot at Mineo’s West Hollywood apartment complex (known as the Hollyview Manor at the time) and within seconds, I received the photo below.



That’s a true friend. Below is how it looked the day I visited.



Michael’s pointed out to me that the odd sloping concrete shown in my photo:



…matches the one from the crime scene photo shot the night Mineo was murdered in the back alley of the complex:



This shot of a policeman looking for evidence was shot in the front of the building:



How the complex looks today:



Edited from Scott’s site:

Sal was renting an apartment in West Hollywood, at 8569 Holloway. Marvin Mitchelson, the famous lawyer, owned the building. On Thursday, February 12, 1976 at about 11:30 p.m., Sal returned home from the Westwood playhouse, where he was rehearsing the play, “P.S. Your Cat is Dead.” He parked his blue Chevelle in the garage, and just as he exited the garage a man with a knife confronted him. Mitchelson’s mom and neighbor Raymond Evans heard Mineo scream, “Help! Help! Oh my God!” Evans rushed to the scene and found Sal lying in a pool of blood trailing 10 feet to the sewers. Evans saw that Sal was losing color in his face and tried giving him mouth to mouth. The Sheriff arrived and found Sal in the fetal position. They turned him on his back, cut open his jacket and shirt to attempt resuscitation, but the stab wound was fatal. After 5 or 6 minutes of gasping, Sal was dead at 37. He was stabbed in the heart.…The case was still unsolved for a year and a half, until a Michigan prison inmate Lionel Ray Williams did a bit of bragging to fellow prisoners that he had killed the star. They pimped on him, and in 1979 Williams was convicted. He is serving 51 years to life. All for a random, botched robbery. Now he’s out – released after serving about 25 years.



A shot of Williams:



While searching on the web for more info about Mineo’s murder, I discovered a documentary film had been made that professes William’s innocence, saying that his incarceration was based on racial motivations rather than the truth. Documentary filmmaker Letitia McIntosh interviewed Williams himself, who claims he didn’t know Mineo and that it had to be somebody else. What McIntosh leaves out is that Williams confessed to numerous people (including a girlfriend and wife) to killing someone famous that night. If you can stand the staccato prose of James Ellroy, you can read his compelling account here.

What do I think? I wasn’t there. Not my circus. I just take photographs.

See more photos at my main website.

Shirley Palooza Four Pt. 3: Paramount Pictures

The best days start with bacon, so Melissa (aka “The Colonel”) and I shared a huge plate of the Chateau Marmont’s bacon. It is the best EVER.

Paramount was the only major movie studio left that I hadn’t done a tour of, and Melissa rectified that by arranging a VIP Tour for those interested. The Melrose Gate, named after Melrose Avenue where it is located. Duh!





The waiting area for the tour had a number of interesting pieces of Paramount history including an outfit for Anjelica Huston by Theoni V. Aldridge from “Addams Family Values” (1993):



A prosthetic Brad Pitt head from “The Curious Case of Benjamin Button” (2008):



The first Best Picture Oscar for “Wings,” 1927/1928:



And then our guide arrived and we were on our way to the iconic Bronson Gate:



A souvenir shot of our group was snapped for us:



Every studio HAS to have an elegant theater, and Paramount is no exception:



One of the movies that premiered here was “Forrest Gump” with Tom Hanks. The photo gallery in the lobby included a portrait of Hanks from the film:



Outside the theater you can see the Bench that he sat on:



In the 1950 Billy Wilder classic “Sunset Boulevard,” Gloria Swanson’s character, Norma Desmond, comes roaring up to the Bronson Gate in her Isotta-Fraschini:



then greets director Cecil B. DeMille who is filming on Soundstage 18:



Still there today!



In the same movie, Nancy Olson and Bill Holden begin their characters’ love affair in the writing offices of Paramount:



Yup…still there!



One of the real insider treats of the tour was getting to visit the Sign Department:



Signs are appropriately aged here:



…and fake cereal boxes are created:



For me though, nothing compares to the backlot. I LOVE seeing these buildings that have served so many purposes in film after film. Welcome to New York, via Hollywood!



A few vintage cars were being towed around the lot for an upcoming shoot:



Looks realistic on the outside:



…but is completely empty on the inside. Just like so many people in La La Land!



No real bricks were harmed here!



A break for lunch included this delicious buffet. I couldn’t believe how tasty it was, as my expectations from other studio tours was very low!



And then it was onto wardrobe! Dinah Manoff’s Pink Ladies jacket from “Grease” (1978) designed by Albert Wolsky:



Are you ready to audition for the Rydell High cheerleading squad? Here’s one of the original outfits:



This one blew me away. The iconic outfit worn by Barbara Stanwyck in 1944’s “Double Indemnity”:





A pair of sandals worn by Anne Baxter in “The Ten Commandments.” I can just hear her saying “Moses, Moses…”



And then onto one of the many vaults where the film itself is actually stored.



This is not just any Movieola machine:



It’s the one used for “I Love Lucy.” See the Desilu etched on there?



Melissa had an emotional moment when we reached the soundstage where “Little House on the Prairie” was filmed.



Can you guess what was famous scene was filmed on this parking lot with the painted blue sky background?



If you guessed the parting of the Red Sea from “The Ten Commandments” you would be correct! The huge area also doubles as a filming area, and can be filled up with water.



The prop warehouse had a few interesting pieces on display.



The 1962 Cadillac de Ville used in “Dream Girls” (2008):



A clock from “Benjamin Button”:



Good thing I had been going to the gym.



After the tour, we trekked across the street from Paramount to Hollywood Forever Cemetery to pay our respects to Judy.



Appropriately, there was a rainbow on the floor in front of her crypt.



What a memorable day! Still more to come!

See more Paramount Pictures photos at my main website.